Ana Balona De Oliveira
Biographic Data
| ID | 3683358 |
|---|---|
| NAME | Ana Balona De Oliveira |
| GIVEN NAMES | Ana Balona |
| FAMILY NAME | De Oliveira |
| SIGNATURE | DE OLIVEIRA A B |
| AFFILIATIONS | University of Lisbon |
| ORCID | 0000-0003-1886-2621 |
| VERIFIED | Yes |
| TOTAL WORKS | 12 |
| TOTAL CITATIONS | 5 |
| AUTHOR COUNT | 12 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2009 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 2 |
The Politics and Aesthetics of Liberation
This essay explores the ways in which artistic practices have revisited histories and memories of anti-colonial struggle, socialist revolution, and decolonization in Mozambique, Angola, Guinea-Bissau, and Portugal, while also addressing apartheid South Africa and the global Cold War. The cartography drawn here follows the histories and geographies of anti-colonial and anti-apartheid friendship without losing sight of several forms of imperialism,…
Thinking Circulations in Southern Africa and Beyond through Artistic Practice
This article examines historical and contemporary circulations across southern Africa and beyond from the perspective of artistic practice. The case studies are drawn from the established practices of four artists: South Africans Simon Gush and Jo Ractliffe, Mozambique-born South African and Portuguese Ângela Ferreira, and Angolan Kiluanji Kia Henda. Involving transdisciplinary research, collaboration and travelling across borders, the examined w…
Decolonial Imagination and the Unmaking of (Post)Colonial Cities and Tongues
This essay argues for the importance of attending to the visual production of contemporary artists concerning critical, decolonizing perspectives on notions of Portuguese heritage and influence in Portuguese-speaking African countries. Several artists have been looking critically at sculptural, architectural, and linguistic structures, to name a few, left by Portuguese colonialism in Angola, Mozambique, São Tomé and Príncipe, Cabo Verde, and Guin…
“Plantation Memories”, Anastácia, Dandara, and Zumbi, the Slave Ship São José, and the Farms of São Tomé, Or Slavery, Colonialism, and Racism in the Work of Women Artists
In this essay, I examine the ways in which women artists – Grada Kilomba (Portugal, 1968), Ângela Ferreira (Mozambique, 1958), Eurídice Kala aka Zaituna Kala (Mozambique, 1987), Meghna Singh (India, 1981), and Mónica de Miranda (Portugal, 1976) – have critically addressed the history and memory of slavery and colonialism, as well as their contemporary legacies in the form of structural, institutional, and everyday racism in Portuguese society and…
The Ethics, Politics, and Aesthetics of Migration in Contemporary Art from Angola and Its Diaspora
Some of the most potent analyses of past and present migratory crises, whether prompted by political, ethnic, or religious persecution, war, environmental catastrophe, or economic dispossession, have been produced through the visual arts. Privileged artistic subjectivity should never be conflated with that of a destitute migrant or refugee; however, artists themselves have often wished, chosen, or been forced to migrate to begin diasporic lives e…
Breaking Canons
In this essay, I will argue for the relevance of the visual production of several contemporary black women artists for the shattering of Eurocentric stereotypes and racist and patriarchal narratives, which, as legacies of the colonial and enslaving past, continue to wound the social and psychic lives of non-white people. While envisaging contemporary artistic practice as being in close dialogue with, or located within, other epistemic and cultura…
Epistemic Decolonization through the Colonial, Anti- and Post-Colonial Archive in Contemporary Art
This visual essay comprises a selection of works made by artists from several generations and geographies, who contribute to an epistemic decolonization in, and of, the present by means of archival research. With works by Kiluanji Kia Henda (Angola, 1979), Filipa César (Portugal, 1975), Olavo Amado (São Tomé and Príncipe, 1979), Ângela Ferreira (Mozambique, 1958), Eurídice Kala aka Zaituna Kala (Mozambique, 1987), Délio Jasse (Angola, 1980), Dani…
Begin Again … Closer … in NYL
This article examines recent video works by Renée Green, alongside previous works, in the context of the solo exhibition Spacing, which took place at Lumiar Cité in Lisbon in 2016. It begins and ends with a focus on the recent Walking in NYL (2016), and Begin Again, Begin Again (2015), respectively, and in between analyses these works’ intimate connections to the earlier Come Closer (2008), Endless Dreams and Water Between (2009), Excess (2009), …
Descolonização em, de e através das imagens de arquivo "em movimento" da prática artística
Este ensaio examina a forma como as práticas artísticas contemporâneas têm contribuído para uma descolonização epistémica e ético-política do presente através da investigação crítica de vários tipos de arquivos coloniais, quer públicos, quer privados, quer familiares, quer anónimos. Tomando como estudos de caso obras dos artistas Ângela Ferreira, Kiluanji Kia Henda, Délio Jasse, Daniel Barroca e Raquel Schefer, este ensaio indagará até que ponto …
Decolonization in, of and through the archival "moving images" of artistic practice
This essay investigates the ways in which contemporary artistic practices have been working towards an epistemic and ethico-political decolonization of the present by means of critical examinations of several sorts of colonial archives, whether public or private, familial or anonymous. Through the lens of specific artworks by the artists Ângela Ferreira, Kiluanji Kia Henda, Délio Jasse, Daniel Barroca and Raquel Schefer, this essay examines the e…
On The Migrant Image
Book review of The Migrant Image: The Art and Politics of Documentary during Global Crisis, by TJ Demos (2013)
Jam Life into Death
Barbara Kruger's work is discussed as an exploration of the ambivalently hidden violence of the stereotype (in line with Homi Bhabha and Craig Owens's theorisations). The author proposes a discussion of the semiotic‐ideological place the stereotype occupies in the socioeconomic, political and cultural order of Western societies, based on the historical notion of the latent fear of the Other proper to the Cold War period. Focusing on the female st…
Breaking Canons
In this essay, I will argue for the relevance of the visual production of several contemporary black women artists for the shattering of Eurocentric stereotypes and racist and patriarchal narratives, which, as legacies of the colonial and enslaving past, continue to wound the social and psychic lives of non-white people. While envisaging contemporary artistic practice as being in close dialogue with, or located within, other epistemic and cultura…
Descolonização em, de e através das imagens de arquivo "em movimento" da prática artística
Este ensaio examina a forma como as práticas artísticas contemporâneas têm contribuído para uma descolonização epistémica e ético-política do presente através da investigação crítica de vários tipos de arquivos coloniais, quer públicos, quer privados, quer familiares, quer anónimos. Tomando como estudos de caso obras dos artistas Ângela Ferreira, Kiluanji Kia Henda, Délio Jasse, Daniel Barroca e Raquel Schefer, este ensaio indagará até que ponto …
Epistemic Decolonization through the Colonial, Anti- and Post-Colonial Archive in Contemporary Art
This visual essay comprises a selection of works made by artists from several generations and geographies, who contribute to an epistemic decolonization in, and of, the present by means of archival research. With works by Kiluanji Kia Henda (Angola, 1979), Filipa César (Portugal, 1975), Olavo Amado (São Tomé and Príncipe, 1979), Ângela Ferreira (Mozambique, 1958), Eurídice Kala aka Zaituna Kala (Mozambique, 1987), Délio Jasse (Angola, 1980), Dani…
Jam Life into Death
Barbara Kruger's work is discussed as an exploration of the ambivalently hidden violence of the stereotype (in line with Homi Bhabha and Craig Owens's theorisations). The author proposes a discussion of the semiotic‐ideological place the stereotype occupies in the socioeconomic, political and cultural order of Western societies, based on the historical notion of the latent fear of the Other proper to the Cold War period. Focusing on the female st…
On The Migrant Image
Book review of The Migrant Image: The Art and Politics of Documentary during Global Crisis, by TJ Demos (2013)
Begin Again … Closer … in NYL
This article examines recent video works by Renée Green, alongside previous works, in the context of the solo exhibition Spacing, which took place at Lumiar Cité in Lisbon in 2016. It begins and ends with a focus on the recent Walking in NYL (2016), and Begin Again, Begin Again (2015), respectively, and in between analyses these works’ intimate connections to the earlier Come Closer (2008), Endless Dreams and Water Between (2009), Excess (2009), …
Descolonização em, de e através das imagens de arquivo "em movimento" da prática artística
Este ensaio examina a forma como as práticas artísticas contemporâneas têm contribuído para uma descolonização epistémica e ético-política do presente através da investigação crítica de vários tipos de arquivos coloniais, quer públicos, quer privados, quer familiares, quer anónimos. Tomando como estudos de caso obras dos artistas Ângela Ferreira, Kiluanji Kia Henda, Délio Jasse, Daniel Barroca e Raquel Schefer, este ensaio indagará até que ponto …
Decolonization in, of and through the archival "moving images" of artistic practice
This essay investigates the ways in which contemporary artistic practices have been working towards an epistemic and ethico-political decolonization of the present by means of critical examinations of several sorts of colonial archives, whether public or private, familial or anonymous. Through the lens of specific artworks by the artists Ângela Ferreira, Kiluanji Kia Henda, Délio Jasse, Daniel Barroca and Raquel Schefer, this essay examines the e…
Epistemic Decolonization through the Colonial, Anti- and Post-Colonial Archive in Contemporary Art
This visual essay comprises a selection of works made by artists from several generations and geographies, who contribute to an epistemic decolonization in, and of, the present by means of archival research. With works by Kiluanji Kia Henda (Angola, 1979), Filipa César (Portugal, 1975), Olavo Amado (São Tomé and Príncipe, 1979), Ângela Ferreira (Mozambique, 1958), Eurídice Kala aka Zaituna Kala (Mozambique, 1987), Délio Jasse (Angola, 1980), Dani…
“Plantation Memories”, Anastácia, Dandara, and Zumbi, the Slave Ship São José, and the Farms of São Tomé, Or Slavery, Colonialism, and Racism in the Work of Women Artists
In this essay, I examine the ways in which women artists – Grada Kilomba (Portugal, 1968), Ângela Ferreira (Mozambique, 1958), Eurídice Kala aka Zaituna Kala (Mozambique, 1987), Meghna Singh (India, 1981), and Mónica de Miranda (Portugal, 1976) – have critically addressed the history and memory of slavery and colonialism, as well as their contemporary legacies in the form of structural, institutional, and everyday racism in Portuguese society and…
The Ethics, Politics, and Aesthetics of Migration in Contemporary Art from Angola and Its Diaspora
Some of the most potent analyses of past and present migratory crises, whether prompted by political, ethnic, or religious persecution, war, environmental catastrophe, or economic dispossession, have been produced through the visual arts. Privileged artistic subjectivity should never be conflated with that of a destitute migrant or refugee; however, artists themselves have often wished, chosen, or been forced to migrate to begin diasporic lives e…
Breaking Canons
In this essay, I will argue for the relevance of the visual production of several contemporary black women artists for the shattering of Eurocentric stereotypes and racist and patriarchal narratives, which, as legacies of the colonial and enslaving past, continue to wound the social and psychic lives of non-white people. While envisaging contemporary artistic practice as being in close dialogue with, or located within, other epistemic and cultura…
Decolonial Imagination and the Unmaking of (Post)Colonial Cities and Tongues
This essay argues for the importance of attending to the visual production of contemporary artists concerning critical, decolonizing perspectives on notions of Portuguese heritage and influence in Portuguese-speaking African countries. Several artists have been looking critically at sculptural, architectural, and linguistic structures, to name a few, left by Portuguese colonialism in Angola, Mozambique, São Tomé and Príncipe, Cabo Verde, and Guin…
The Politics and Aesthetics of Liberation
This essay explores the ways in which artistic practices have revisited histories and memories of anti-colonial struggle, socialist revolution, and decolonization in Mozambique, Angola, Guinea-Bissau, and Portugal, while also addressing apartheid South Africa and the global Cold War. The cartography drawn here follows the histories and geographies of anti-colonial and anti-apartheid friendship without losing sight of several forms of imperialism,…
Thinking Circulations in Southern Africa and Beyond through Artistic Practice
This article examines historical and contemporary circulations across southern Africa and beyond from the perspective of artistic practice. The case studies are drawn from the established practices of four artists: South Africans Simon Gush and Jo Ractliffe, Mozambique-born South African and Portuguese Ângela Ferreira, and Angolan Kiluanji Kia Henda. Involving transdisciplinary research, collaboration and travelling across borders, the examined w…
Sociology (11 works) · Art (9 works) · Political science (9 works) · Law (8 works) · Politics (8 works) · History (7 works) · Aesthetics (6 works) · African history and culture studies (5 works) · Colonialism (5 works) · Gender Studies (5 works)